\ØALTZES FoR rItE PIANo
COMPLETE
PRACTICAL PERFORMING EDITIONEDITED BY \üøILLARD A. PALMER FROM THE ORIGINAL SOURCES
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AN ALFRED MASTERNøORK ED]TION
tt
FREDERIC CHOPINWaltzes (Complete)
Practical Performing EditionEdited by Willard A. Palmer from the Original Sources
AboutThis Edition
Willard A. Palmer's Prøcti-ca.l Performing Editions arcsub je ct to the samepainstaking research as thewell-known MasterworkEditions. To make fewerpage turns necessary, edito-rial suggestions for the per-formance of ornaments are,for the most part, present-ed in footnotes. Parenthe-
ses âre used to identify supplementary slurs, dynamicindications, etc. Fingering is editorial unless commentary inthe footnotes stâtes otherwise. , It is hoped that this series
will fill the need for accurate, dependable, clearly engravedand economical editions.
A wntercolot; cø. 1 I3 6, of Chopin
fu Mariø Wod.zirískø (1819-1896)
The WaltzesDuring Chopin's lifetime(1810-1849), his Wøltzeswere among his most popu-lar compositions, and theyendure in the concertrepertoire to this day,among the most frequentlyperformed works in thepiano literature.
The Wøltz¿s were com-posed over the period from
1827 (when Chopin was 17 years old) to 1847 (two yearsbefore his death). The present edition, meticulously editedfrom the autographs and first editions, contains all thewaltzes that are definitely known to be authentic. Only thefirst eight of the collection were published during Chopin'slifetime. These represent the best of the waltzes, since itwas Chopin's habit to carefully prepare the works heintended for publication. The posthumous waltzes exist ina number of different forms, some "dashed off' carelessly as
gifts for ladies of Chopin's acquaintance. For the presentedition, we have chosen, where they exist, the versionswhich were published by Chopin's close friend, JulesFontana, shortly after Chopin's death. These are the best
known versions of the posthumous works. Two additionalwaltzes, both in E-flat major, have been added in this newlyrevised Alfred edition.
PedalingAlthough modern pedalindications are used, theyare carefully taken from theoriginal manuscripts andfìrst editions, in which theolder system (Sò. x) wasused. Overlapping Pedalmay be used at the Per-former's discretion.
Ornamentation
by C.P.E. Bach, Clementi and others, Chopin seems to have
used the sign ^,r,
most often to indicate the three-note tra.nsient trill, somenrnes referred to as
an inverted mordent ( I¡a or ff ).
For rhe prefixed. trill,Chopin uses the following indication:
written:
or, with sufÊx:
The second note of the prefix is not to be repeated, since the trill proper begins on the uppernote.
played:
The füll t and *According to the testimony of his own students, Chopinusually began his trills on the upper îote. When the noteimmediately pre'ceding the trilled note is the same âs theupper note of the trill and legøto is indicated, the trill maybegin on the main principal note, to avoid a break in thelegato. This is in accordance with the rules of MuzioClementi, whose methods Chopin used.
While the signs ú and ^,ry
were considered to be slmonymous
When a short øppoggitturø ât the pitch of the main note is placed before the trill, the trillbegins on the main note, on the beat. The starting note is not repeated'
The Appoggiatura ù frAppoggiaturøs, single and double, are generally played on the_beat. Exceptions are anticipa-tônJóf the following note, octave skips, and those written before bar lines.
wntten: played:
Thematic Index
10. Moderato
zù
69 No
Page
6
r-
4. Vivace
Page
66
16
Molto vivace
Tempo giusto
Op.70, No. I
(Posthumous)
Op. 70, No. 2(Posthumous)
Op. 34, No. 3
Op.64, No. I
Op. 64, No. 2
32
Molto vivace
Tempo giusto
L7.(Posthumous)
96
Op.34, No. I
Op.34, No.2
Op.70, No. 3(Posthumous)
(Posthumous)
(Posthumous)
P con espress,one
(Posthumous)
6
Grande Valse Brillanteto Mlle. Laura Horsfold
Op. 18
1.
Vivo
ø ,r al -l ll 4ã al
t"-,+E >z- 3Ê
I
tCrrI
++ l¿I
321321a
lr
321!21 Ð
ll
B leggíeramente
@ fn" uill begins on the upper note.
@ L-+<.a+
+t îÊdt>
.--/ç+=-^'\4.+ + ..1-
9
@ Play the sltort øþpoggiatarøs very quickly, on ,lte bear'
ffic)n onima
nEl ã Z-<.
rt t' Eñ ' r I
@ plaved: ru (Similarly in measure 126.)
@ tlay the sbort øppoggiøttrøs very quickly , on the ,be¿r, almost simultaneously with the following large note.
ll
y/,,
I2
@ L LLI Jll :tut it t ttt*
fz ,t" UlG IÈI
+++-+
13
EDr Ieggieramente
r
t4
poco -
15
accelerando
T6
Vivace
Grande Valse Brillanteto Mlle. J. de Thun-Hohenstein
Op. 34, No. 1
2.
--'Tzl52
U
f \I
lriltè Ê
@ Th. aþþoggiøtara, w¡itten before the ba¡Jine , must anticipatc the beat.
Lr_l
t-tr--
t- |
gva- -'
(poco rit.)
t8
@ fn. trills begin on the apper note.
t9
E^\
20
-2t
@1 !2
**
AJ t- J,'Þl>t-t
IñE ø. 4r*
22
23
w- (a lempo)
!'
8vq
24
\l t r z L
25
45
u -+dim ++
J¿ í J1 pll-L 4l++ ++ ++
R. H. F^--
@ rf\. .l- --à
AJ ]JJ .t** *.t
- -lr -
r* *,*
8vq-------'l
26
Grande Valse Brillanteto Madame la Baronne C. d'Ivry
Op. 34, No. 2Lento z1
3.o++
F _---------1I t' i-i
++I
+t ++@ldr2 Ë 2 I
3-õú.
ped. sintile qd lih.)
@ The trill begins on the pincipøl note,
27
@ m. distinction berween thc indications lr and tw m^y bc dcliberate. Although the rwo signs wereused synonymously by C.P.E. Bach, Clementi and others, Chopin seems ro lse,+t most often to in-dicate a trønsient trill sometimes called "interted mordant, " played as a rh¡ee-note figure beginningon the principal nore ( JED ).
28
(ped. ad lib.)
29
3l3l tl3
30
@ sostctruto
31
32
4..
Grande Valse Brillanteto Mlle.
Vivace,
ue' fã e-+'
+' J<>++
ee'
+. ++++
-.' -ec'rcsc. _ _ _+e+ç+
+' eÇC
@
A. d'Eichtal
Op. 34, No. 3
@ The pedal indications in measures l-9 are traditional. They are nor ro be found in the originalsources, however.
33
\t
343
^a/-----\.
34
2 t sz It¡ t-'. nrz
n
t zttz 4 úr- 4r'**2o ., I
424
@ fhy the sbon øþþoggiøturøs very quickly, on tbe beøt, almost simultaneously with the following large note.
@ The trill begins on the uþþer note.
35
/w:
<-_-z) (\-)
, Ls -,,,
t3zÃ,24t,3:
, a,, a t,1
Each of the trills may begin on the upper note , which in both cases is
Valse
Op.42(vivace)
Ð.
IL ffi L-L.I LI I r'l I îr ra
ped. simile
E2 Ã I z lt g 5t r 2 g z 1 5
q
I
bIqil-Irr trrtrÍ lqr r | '[ [
@
@
The trill is traditionally pl.ayed beginning on the principal note. There are reasons to belicve thatC,hopin may have playcd it beginning on the upper nore.The original sources show no pedal indications hàm here through measu¡e 40.
37
38
,r-
39
40
Eil ":*y'':
ped. ad lih.)
I4l
@ î 4 (c)u 5 tá
ü'l
++ t+vr ;Jl
*ct'esc'.__ _ -
L++r:r+) r[r *
@ Prayed: #flJË
42
, 5.2^
ar lfllrrl lr
-
ta)
I'rlttt lflrîrl rr'-
lqllr"f
@ fhy the appoggi^tvns on tbe beøt.
44
ffifl--_ \
45
accelerandogva - ----3' - - -- - - - -- -'1
Valseto Madame the Countess Delphine Potocka
Molto vivace Op. 64, No. 1
tL 1. ^ I 4
(ped. simile)
É-- tc I ,^Tq,t4 ^, 'lu ++
b5 tt ftft tfr
-
47
1^ 3 t+z
3 131
Zl
,ù æ
¡l I
r 3 1r .2
@ This trill should begin on the aþþer note'
@ Play the short øppoggiøtarøs very quickly, ^nd
o" the beøt'
48
@ r lh¡ +' Î ¡ t- 4
ü ,--
**+tTF +++J} + +
*r*
t?
@ This t¡ill traditiondly begins on the principal note. There is evidence, however, that it may havebcen played by Chopin beginning on the upper note .
(r--------------r)
-+ :L¿ -=- -=Lx4 ¿t *t1
dñ o
L:_:ï-¿¿ +.f iet¡+ i¿.t'rV¿* i- 1 ' z 'C _:) @B9t
zv I 8;e I t7
Ê
J-
^Ct
To
--_FFF l--F-1---1---1- 1
)-- i-.1 -+- .-?ti r r frsJe rë
6V
@
"¿
50
7.
Valseto Madame the Baroness Nathaniel de Rothschild
Tempo giusto 4"2""6 ,
ur, i )i-\t ?;-: !111
lr
U-u Ir- r - -
--
ri -++J-- frr| ++
Ll'I| ++f-b
E
3 23 2 3 z
,1
24
33
u u-- - t7 tI f,PI ¡+ '[¡ÊÊ
f51
EÐ Pi¡ mosso
( ped. simile)
(pcd. sitnile)
ffilt t 3 t, l¿12
t'o-r-,t- -^--r --
52
@ Pi¡ lento' 1 -'4:
L23
E
Apoco riletwto
53
(ped. simile)
ç ped. simile)
^43 ¿ r¡1 .
gVA' '
54
[I29] Tempo I
@ oD2Jg Í-rn z t LL. .3-¡¡- 3-, 3L s -l-Ì=
r-Lr I I J
X-r-+ fiE
-55
lftIl Più mosso
( ped. simile)
r a ¿ rtl
(ped. simile)
8Va
56
Valseto Mademoiselle the Countess Catherine Branicka
Op.64, No. 3Moderatou
(ped. simile)
trn 72 3
aJ
f? ?+I
t +
57
6/z-^ I L2- 1
(Ðt1.--r-- J-JaJ w l==J= Jr +4 r
58
sotto Doce
-t+tï/'ê +
2lt3
@
ul r ¿ ttr J_ _=_ r++1
/-=
62
@@
The trill properly begins on the upper nore.
This appoggiatura may anticipate the beat.
- 59
@ri2
** **U -+J'Jostcnulo
r * * t*
( ped. simile)
Playcd:
60
3_1 4 Z 1
r_ z +?t zíL i
(Pcd. sintilc)
61
poco a poco øccelerando al fine2
ru?ç ?+
I
ValseOp.69, No 1 (Posthumous)
9.
62
65t, 3 t¡64
2,ñ-,t rlt
a) @/-++
I
**
,lL ,¡r
lempo4^
@ This appoggiatura may anticipate the beat.
-63
('Pcd. simile)
@ ,.,--<, 4_ /-: 43 Á i' Ê:rr1-\ B ,a +' tl+
ta)
-7
fi+:). -b-l
I
FI r -b.J
Ê!,7r:) ¡JlI
Ê'I t ).1 7,4:[2L
a tempo
>^ ,itE ,ànriorro
.4Doß
-tl
ó
3 3b3 3
,ll¡\e/II
e]¡
4-- I l- ::'/I
aL t7=
rr
@î, I3 3 3 ,i I 3 l- L ,3
u tt-poco->- -- - - a >- - - poco
ta a)
tt-l ,rur,.l-+e
ll+e
E L L B - ! â^ ãr-itr s ? lnâ, s
L'ãr t"'t? ̂ p \ 7= v-'/
I
aL \ l- \--lIà-
65
3
u\rI
aL _\ I \//Ià¡
ë \' j l
66
ValseOp. 69, No. 2 (Posthumous)
10.
(ped. simile)
Moderato )=ru"
!¿
(ped. simile)
67
Con anima 52lL!.
iurn h, k--ffi 5,,--
+ts
.) rf*t t* 'f++
68
l4tg
çped. simile)
ffi tåür{h 1 2, i
++rt+ .++tt- Ê Êt
2 o,z
4lt
69
( ped. simile)
t 4t| ¡. ¡t 412
10
Ð
2
s-#d tttttt
.ú + + ++ -
I
8î ++t!¡
-Jtteted, sitrtile)
IIE Ð
I42
IIETI , b. 4 1.3 _ t¡a+¿--r L-\r i:5
w
¡--1p-
I
t8trlttt tttt
.-t.-++- +--
IJdittt.z
!.l.
I Í-
ta)!+*+:ütnEr----+-
'fÐt31
( ped, similc )
ffi4
tz/4-) t5
ET-al
+rG ++.rbb *llÊ -t_{¡J++ ,**
7l
(ped. sintite)
@2 I <-1 4 l2
lr
tt-FE
AJ
**
lr
A,¿+ -t++
@
(ted. simile)
64 5z-+r4,9, I íì$m.ibJ 2 5z---
*a
-
+L ++,ft
ril.++t¡È Ë -*+
72
ValseMolto vivace J.:r,
70
11.
( ped. similc)
¡2(Ð z--l.e¡-\ ,-'th/'3 +r.
8Va3,---\ ,/
Jp. rv,1\o. I (rosthumous
3^ l-r?, -'
brillante rs\l
I
3
SVCt
3 ð
41
(ped. simile)
E . gvaI
'ì2
Sval -(' ')
!g 4
I
Play the first of the rwo small notes on tlte beøt,
The trill begins on the uþper noîe.
Tlne slton øpþoggiøt*rø is played on tlte beøt, almost together with the following large note.
@@
@
73
1s t 4â l B
Meno .o""o J=ro
m'B +g s-L 3 a;íìb'H.; ?¿ 3t2l L9*x
çped. simile)
þ, cantabile
(ped. simile)
74
@ H.r. theøþþoggiøtùramustanlicipøne thebeat,orbe includedinthearpeggiation
r75
(ped. simile)
gva -
(ped. simile)
76
Valse
Tempo giusto )=tno Op. 70, No.2 (Posthumous)4
12,
E
l:>
ulrl-t-t
3
i,s>---1
t g J-4. B 2, II 13
tu
, {'1 ï_]_l\+T IJJ5 '5
= iÈ | ,3 , ,4 ,
21 ) t2t I
ttJ .
-l¡
'nI =-=:-l.L{.J I.t-t T
L-'-=--crcs('. I
,. ¡l- ¿alJl¿.4
@ Play the first of the three small notes on tlte beøt, togethe¡ with the lowest note of the arpeggiatedleft hand cho¡d.
77
, , o tl'
b 1I
\-.++ht+
¿, '. >'\\-atm.+ +L
'5+
.>qm---j+L L,5Ð I Lt
@ Played:
78
rg 1
T
@ The trills begin on the aþþer note.
19
,l , (ped. similc)
80
ValseOp. 70, No. 3 (Posthumous)
13.
@ The F's are not tied, as most editions show, here and in similar measules.
-g----":
@ Played:
81
i i i ',j e43i2 r
5
r¿(ot n I ã
1
@6ã
O Played:
82
42 5
33
-t-l-
-
83
Valse(Posthumous)
(Allegro)
82 4 t e å 2l
r21321
@ fne first edition (Breitkopf and Härtel) has the
following here and in measures 3940:The above text is according to Chopin's autograph manuscript.
(a¡rurc .pad)
'zl
-w
t8
-85
86
Walzer
Tempo di valse (Posthumous)
ffi1
rr5¡6 ^
a I ----l-
,¡ll + +rt++
ttcresc..++
@Played: ffi
87
8Va
¡i
@ played: # (similarly in rhe following measures.)
-
88
21321
(Fd. simile¡
2 ,t3I 213 2 1 2
89
-
@ t
l2
I 1q 21
tr! ----..J
90
8Va-'fì
| 43 226t.
9t
Valse(Posthumous)
tst
grøzioso?¡ ,, ¡tFìFt I ¡ z t
tr"n -- -l
l-]-do
I ll ,.-
:U
[Ig s,: - il--- -- - -'.'
92
gva- -
1J
EVa -
2I r3
------------
93
gva -
l-l
v . ar \_z
8VA- - '
I 3 2 t 2)
UI \-ra(l l , ,)
-
95
@8VA 'ì
U t---l
96
Valse(Posthumous)
t7.
98
@ ;-r\ /-\ -- ? ta -------
.) tt
** *t +Fa
@ Played:
99
Walzer
(posthumous)
Ped. ad lib.
Moderato5Fzl¿
I
p Ll-l_LlI L4ll2 11**
@m slurs and most of the dynamic indications are editorial.
dim. e rítørd.
(Trio)I
4- t
f
-
rt)+ûb
3
I
llllF--ï- f
8---------------r
trttPr 4dím. e rítard.
2*I
+h
t02
19.
Valse@to Emile Gaillard
(Posthumous)
Sostenuto M.M. J = 96 - 100
@ fn" autograph of this selection is in the library of the Paris Conservatoire. It is signed, "F.F. Chopin, Paris, 20 July 1840."It was discovered in l94l by Dr. Jacques Chailley, then secretary general of the Conservatoire, who brought it to the attention ofthe First International Musicological Congress Devoted to the Works of Frédéric Chopin (Warsaw, 1960). The piece was foundin an album belonging to Emile Gaillard, a friend and pupil of Chopin. Because the composer gave no title to the selection,
Dr. Chailley suggested the title "Albumleaf." All pedaling is editorial except that in the final measure.
@ ¡ff appoggiaturas in this selection should be played rapidly and on the beat.
-103
1 43 ,Iù
.)
* +f
+t b++
i-î ', ? ! z
12l 6212 3l
r345-
11.4I
D.C. al Fine
CHOPIN\ØAITZES FOR THE PIANO
idil Biret, pianist
Track
. 1,.
2.
J.
4.
5.
6.
7.
8.
9.
10.
1.1.
1.2.
13.
14.
15.
1.6.
1,7.
18.
19.
Title Page
GrandeValse Brillante, Op. 18 """"'6
GrandeValse Brillante, Op.34,No' 1 ...""' """1'6
GrandeValse Brillante, Op. 34,No. 2 ... """" "'26
GrandeValse Brillante, Op' 34,No. 3'.--...."" "32
Valse, Op.42 ...""""""'36
Valse, Op.64,No. 1'....... .-....""""'46
Valse, Op.64,No. 2 """ 50
Valse, Op.64,No.3 """56
Valse, Op.69, No. 1 (posth ) .-..""""'62
Valse, Op.69,No.2 (posth.) .""""'66
Valse, Op.70, No. 1 (posth.) ...........' -...."""""72
Valse, Op.70, No.2 (posth.) """""76
Valse, Op. 70, No. 3 (posth.) """"" 80
Valse(posth) .- .'.".."""""'83-Walzer (posth.)...... """' 86
Valse (posth ) ........"""""91
Valse(posth) . '..-".."""""96
WaIzer (posth.).......'..:'........... """'99
Valse (posth ) ......-.""""102
